Niall Horan: Transition From Boy Band to Solo Artist [Contributor: Megan Mann]

Irish crooner Niall Horan had a lot to prove.

When the superstar group One Direction went on hiatus in 2016 and the group pursued solo projects, the lesser-known member of the group had to prove that he could carry his own.

All the way back in 2010, five teenage boys from across England and Ireland auditioned for X-Factor. Each boy made an impression on the judges, but not enough to move on to become solo contestants. Instead, the five were called forward and told they would be forming a group. Over the following weeks of competition, the group would become One Direction — an almost immediate phenomenon. Though they finished in third place, their meteoric rise to the top was an overnight success.

Once their debut album Up All Night was released in 2011, the group had topped the charts not only in their native U.K., but around the world. One Direction embarked on a world tour and sold out venues faster than tickets could be printed. In the four years that followed, the group released a concert film, a documentary chronicling their success and its low and high points entitled This Is Us, and went from venues to arenas and then to stadium tours with multiple nights in order to meet demand. They released four more albums: Take Me Home, Midnight Memories, Four, and Made in the A.M., each of which produced hit songs and topped the charts.

By 2015, member Zayn Malik had taken his leave of the group and One Direction continued in 2016 as a foursome. Following the release of their fifth album, Made in the A.M., the group announced that they would be taking a hiatus — the members needed a break from the constant machine of being in a boy band of their magnitude. They also had desires to pursue solo endeavors.

Soon after the band's hiatus, Louis Tomlinson released "Just Hold On" with Steve Aoki. Following that release, it was announced that both Harry Styles and Liam Payne had signed solo deals, the former releasing "Sign of the Times" in March 2017, and the latter "Strip That Down" featuring Quavo in May of the same year.

But it was Niall Horan who was the first to release solo music mere weeks after the group had announced their hiatus. Released in September of 2016, "Our Town" charmed audiences around the world and gave fans a peek of what the only Irish member of the group was capable outside of the boy band mechanism.

It was a full six months later that Niall released his follow up single "Slow Hands." Instead of rushing the tracks, he gave fans the chance to see who he was as an artist rather than overwhelming them with a "this is me now" attitude. While "Our Town" was a sweet acoustic track shining in its simplicity, "Slow Hands" was a soulful bop-along track that shed the double entendre of One Direction and focused instead being a straightforward man in his twenties.

Upon releasing "Slow Hands," Niall surprised fans by embarking on a radio tour across the U.K, Ireland, and America — something usually reserved for new, emerging artists. He traversed the countries armed with his acoustic guitar, performing his two singles as well as answering questions about his solo work. This allowed him to engage with not only his targeted audience, but also with fans that may not have enjoyed One Direction but would enjoy the more stripped down, less flashy work he was putting out under his own name.

Instead of resting on the fact that he was already guaranteed a built-in audience based on his career thus far (like other artists have done in the past), Niall looked at his solo career as the beginning of his career rather than a continuation of it. He hit the pavement and those radio stations with everything he had. He took the work that was entirely his and promoted it because he was proud of it, not because he had to. And fans were listening because the music was good — not because he had a famous name.

For a colossal artist such as Niall Horan to take a grassroots approach to his career when transitioning from boy band to solo artist is virtually unheard of in the digital age. Artists like Beyonce and Justin Timberlake simply went from their groups to releasing solo music and relied on a video or a VMA performance to debut before seeing their careers follow this planned trajectory.

What Niall did was unique in the YouTube/social media era: he wanted the music he had created entirely on his own to speak for itself. His sound transitioned from boy band pop to laid back, California sounds reminiscent of the 1970s. His track "On the Loose" sounds more like The Eagles than it does pop radio, and "Seeing Blind" with Marren Morris has crossover appeal.

Niall Horan saw the transition from boy band member to solo artist as more than just an ending — he saw it as a way to reinvent himself and prove that his star power extended beyond that of a pop group. He proved that he could still sell out venues around the world because the music he was creating was great, and had value. And Niall isn't stopping any time soon — he is reaping the benefits as his songs continue to chart high and his tour dates continue to sell out.

His example demonstrates that in this era, a lot of hard work still goes a long way.

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All My Favorite Conversations: A "Made In The A.M." Album Review [Contributor: Jaime]

As anyone who follows me on Twitter, or has ever been within a hundred-mile radius of me, knows, I am a huge One Direction fan. I’ve been a fan for about three years, since right before their second album Take Me Home was released. Since then, they’ve embarked on three world tours, released two more albums, lost a band member, and gotten dozens of tattoos. But despite their fame and millions of Twitter followers, they’re just four guys who love their fans and making music. Each album they’ve made has been a big step forward in terms of their sound and skills as musicians, and their newest album Made In The A.M. continues that tradition.

A far cry from the bubblegum pop sound that made them famous with their first single “What Makes You Beautiful,” Made In The A.M. is a rather eclectic mix of styles. There’s pop, of course, but the only real traditional pop song is their new single “Perfect.” Otherwise every song is pop with an edge: rock, country, even a little bit of funk. And then there are some songs that defy categorization entirely.

One Direction challenges public perception and their own comfort zones with every album they make. It’s impossible to write them off as being just another boy band –– they’re strong musicians and songwriters, and that’s never been more clear than Made In The A.M. In interviews, the boys have explained that in writing the album, they got together and established a concept or theme that they wanted to carry throughout. It’s a hard task to pull off, but they’ve made it possible to track the moods of each song: it starts a little upbeat, like the beginning of a night out with friends, and slowly starts getting more nostalgic, until all that’s left are the last few hours of the night and the friends by your side.

I’ve got a lot to say about this album, and I’m sure I’m not the only person madly in love with it. So let’s go track-by-track and discuss what makes Made In The A.M. so great:

1. Hey Angel

I come alive when I hear your voice; it’s a beautiful sound, it’s a beautiful noise. 

The album’s opening track serves as a powerful kickoff to everything the listener is about to experience - and trust me, there’s a lot to experience. With an almost immediate beat drop and some wistful “woos” in the background supplied by Liam, it’s almost inviting you in. Once it gets to the chorus, which is kept simple with only a few lines (“Oh I wish I could be more like you. Do you wish you could be more like me?”), you’re drawn in. Fans have picked up on similarities to The Verve’s “Bittersweet Symphony,” or to some U2 songs. Those similarities seem intentional: it makes the song familiar and accessible, within other pop music and One Direction’s own catalogue. At the same time, it’s still a bit different from the band’s previous sounds, making it clear right off the bat that this album is going to be a very big departure for them.

2. Drag Me Down 

I got a river for a soul and baby you’re a boat, baby you’re my only reason. Speaking of big departures. 

“Drag Me Down” was the first single, released in July, and was such an unexpected move. For one thing, it was the first new song released by the band after they became a foursome, and it’s easy to see even just in this song how their changed roster forced them to reevaluate how they use their voices and distribute parts to build a song. Where former member Zayn Malik used to get the high notes and lead harmonies, now those jobs have gone to Harry Styles and Liam Payne (at least in this song). The band had to start functioning differently, and as a result, their music had to develop differently. And this song certainly is different for them: it’s got kind of a funk feel to it, which isn’t a style usually explored by boy bands. But they manage to pull it off, and it was the best possible way to introduce their new sound to the world.

   

3. Perfect 

Girl I hope you’re sure what you’re looking for cause I’m not good at making promises. 

“Perfect” is One Direction’s new single, and... well, let’s just say it’s not as good a choice as “Drag Me Down.” The song is fun: it’s catchy, and it was partially written by Harry and Louis, which is always a good thing. It’s kind of based on their media images, presenting an image of what their lives are like. Too reckless for a serious relationship, having to sneak around, causing trouble in hotel rooms. It’s fun but not particularly deep –– a quintessential pop song, basically. Ultimately, I like the song but it’s not the best choice for a single: that straightforward pop sound just isn’t representative of the album as a whole, or even of the band. Sure, that’s the image most of the general public has of One Direction, but that’s not who they are anymore.

4. Infinity 

How many nights does it take to count the stars? That’s the time it would take to fix my heart. 

Like “Perfect,” “Infinity” is maybe closer to some of One Direction’s previous albums, particularly Four. But the differences between “Infinity” and some of the other songs on MITAM are where the eclectic vibe of the album really comes through. It’s sort of a straightforward song, though there’s a depth to the lyrics and the music that isn’t necessarily immediately clear. The song is repetitive, with the same lyrics making up both verses, but the rising music helps that repetition work more as a way for the song to build on itself. It all culminates in a pretty epic beat drop that makes me start dancing every time I listen to the song while walking my dog. My neighbors don’t like me.

5. End of the Day

I told her that I loved her, was not sure if she heard. The roof was pretty windy and she didn’t say a word. 

One Direction writes a lot of love songs. That’s just a fact. A related fact is that I will never, ever get tired of listening to One Direction’s love songs. “End of the Day” might be one of the best love songs they’ve ever come up with: the chorus is confident, an unwavering claim that at the end of the day, the speaker just wants to be with the object of his desire. It’s bold, but there’s a hidden vulnerability in the verses that sort of counteract the chorus. There’s also a story being told in the verses; this isn’t just a generic love song, but rather something the speaker is feeling in one particular moment, hidden away upstairs at a party. It’s upbeat and catchy, and includes one of Louis’ best solos on the album (or maybe ever).

6. If I Could Fly 

I’ve got scars even though they can’t always be seen. The pain gets hard but now you’re here and I don’t feel a thing. 

Again: One Direction loves love songs. But “If I Could Fly” is nothing like they’ve ever made before. It’s a slow and aching sort of love, one so strong that it hurts to be separated. It’s that idea, and the complexity of the lyrics, that strengthen the song and reveal its maturity. This isn’t a song about telling other people how much you’re in love, or defending how well you know the person you love. This is a direct appeal to that person, knowing that what you feel is reciprocated, offering them your heart and pleading for them to take it. One of my favorite little bits comes near the end, when all four singers take a line, which leads into them singing together. One Direction has never done that before –– each singer will take part of a verse, or sing together in harmony. But that small moment of giving them all a turn, then joining together, creates cohesiveness to the song, and lets all the threads created by their different voices finally come together.

7. Long Way Down

Built a cathedral but we never prayed. We had it all, yeah, but we walked away. 

Every One Direction fan remembers where they were when Zayn left. His departure must have coincided with when the other boys began writing MITAM, so it’s inevitable that whatever they were going through at the time would find its way into the music. And while it comes up in bits and pieces in other songs, it’s the heart of “Long Way Down.” There’s kind of a country vibe to this song that instills wistfulness to the lyrics, as if it wasn’t already emotional enough. It’s a really pretty song, and relatively simple. For a band known for their pop music, they’ve gotten skilled at knowing when to pull back and let the words and emotions speak for themselves.

8. Never Enough 

Lips so good I forget my name. I swear I could give you everything. 

This might be one of the weirdest songs they’ve ever done, and by that, I mean it’s incredible. With fast, rhythmic verses and enthusiastic chanting in the background (“AHUUA”), it’s very, very odd, but so much fun. Liam’s definitely the star of this one, supplying most of the background noises that, by the end of the song, turn into weird screaming. It’s obvious how much fun the boys had with this song, and that joy is infectious. Listen to it without bouncing along, I dare you.

 9. Olivia 

When you’re gone and I’m alone, you live in my imagination. Summertime and butterflies all belong to your creation. 

This is another weird one, but in totally different ways than “Never Enough”. It’s just as bouncy, but with clear Beatles influences. There are horns accompanying it, and it has a Willy Wonka-inspired bridge that makes next to no sense but, needless to say, is amazing. So far this has emerged as a fan favorite, and it’s definitely a standout from the album. It’s One Direction at their best: the song is fun but it’s not filler. There’s something going on in it, and for as bouncy and lighthearted as it is, it’s actually pretty musically complex. And it features yet another brilliant solo from Louis, so, serious contender for best song on the album.

10. What a Feeling 

When the air ran out and we both started running wild, the sky fell down. But you’ve got stars in your eyes and I’ve got something missing tonight. 

This might be the coolest song on the album, hands down. The music’s got a very ‘70s feel to it, and the lyrics are a bit more abstract than what the band usually offers. I’ve never even really listened to Fleetwood Mac and yet the influences are obvious all over this song. Older songs of theirs are clear emulations of other famous songs, but this is really the first time that One Direction tried to emulate a band that’s actually inspired them. Compare this song and its ‘70s influences to something like “Does He Know,” which sounds an awful lot like “Jesse’s Girl”. With this, it’s not so much that they tried to make a song Fleetwood Mac might make, or that fans of Fleetwood Mac would respond to (where most of their familiar-sounding music seems like it’s just trying to appeal to rock fans), but rather that they responded to a different style and different sound and wanted to push themselves to make something similar. “What a Feeling” is an incredibly mature song, and definitely one of the most interesting in terms of its overall sound.

11. Love You Goodbye 

One more taste of your lips just to bring me back to the places we’ve been and the nights we’ve had, because if this is it then at least we could end it right. 

Like I said above, I will never get tired of One Direction’s love songs. I will also never get tired of their break-up songs, which is good, since there are so many of them. But usually their break-up songs are more along the lines of how sad they are now that their true love is gone. “Love You Goodbye” is a little different: it’s not so much about being sad as it is about, hey, you’re already leaving me, let’s have one last good memory. But even then, it’s only really about a romantic break-up on the surface; if you ignore the relatively minor references to love and sex, it’s really just about having to say goodbye to someone important and wanting to see them one last time. That universal quality to the lyrics rounds the song out a bit more, and if you weren’t already a fan of it by the bridge, then Louis’ solo is sure to pull you in. I could go on and on about how well he’s used on this album, but then we’d be here all day, so just know that he’s used amazingly well and his high note in this song will probably be what ends me to an early grave.

12. I Want to Write You a Song 

I want to build you a boat, one as strong as you are free. So anytime you think that your heart is gonna sink, you know that it won’t. 

As is the case with “Long Way Down,” “I Want to Write You a Song” shines because it’s so pared down. It’s a very simple song, both in lyrics and melody, and almost sounds like a lullaby. It’s so pure and earnest, with some pretty clear similarities to “Blackbird”. The song itself is just cozy; every time I listen to it, it makes me want to curl up with a blanket and some tea and get lost in it. It’s so endearingly sweet, and for as simple and straightforward as it is, there’s so much emotion and comfort in the boys’ voices, especially Louis during the chorus. Pro tip: don’t imagine singing this song to your eventual children. Just don’t. It won’t end well.

13. History 

Cause the truth is out, I realized that without you here, life is just a lie. This is not the end, this is not the end, we can make it, you know it, you know. 

So, all right. It’s time to address the relatively large elephant that’s been following One Direction around for the last few months. They announced recently that they’ll be going on hiatus in the spring, giving themselves a much-needed break and transitioning to a more reasonable schedule. Considering that they’ve put out five albums in five years and gone on four world tours, yeah, they probably deserve a break. Much like Zayn’s departure, the knowledge that they were going to slow down seeped into the writing of this album, and “History” is very much a message to the fans, acknowledging everything the band has been through with their support. It’s the last song on the standard version of the album, and what a perfect sendoff. Like the album opener “Hey Angel,” there’s familiarity in the song –– it sounds very reminiscent of “You’ve Got a Friend in Me,” which we’ve all cried to, right? That familiarity creates such a strong back-up to the lyrics, which are thankful and nostalgic of all the memories the band and its fans have shared.

14. Temporary Fix 

The night is on your lips and I feel like I’m locked in. There’s a million eyes, I don’t care if they’re watching. Your body’s saying everything, I don’t have to read your mind. 

As a dedicated One Direction fan in her early twenties, there’s nothing I hate more than people who know nothing about the band who assume all their music sounds like “What Makes You Beautiful.” You know, cheesy, generic pop music with nothing going on beneath the surface. Off the top of my head, I could list dozens of their songs with complex lyrics and melodies that could change any person’s opinion. That said, my absolute favorite One Direction songs always tend to be the fast, pop rock-y, lighthearted songs about casual sex. Sue me. I’m kind of a hypocrite. And that’s exactly what “Temporary Fix” is. It’s about friends with benefits, and that’s basically it. It sort of feels like the night before the events described in “No Control,” a song from their previous album Four –– and I love “No Control”. This song is just so much fun, and I’ve been known to restart it once or twice (or more) when it comes on while I’m out running. Harry’s solo is such a vocal standout: he sings his part loosely, and it’s less about nailing each note and more about creating a certain feeling. And thanks to “No Control,” we all know how that ends.

15. Walking in the Wind 

The fact that we can sit right here and say goodbye means we’ve already won. The necessity for apologies between you and me, baby there is none. 

I’ve already talked about how this album is stylistically eclectic, but “Walking in the Wind” might be the biggest departure for One Direction. Harry’s described it as being inspired by Paul Simon, where the verses are a little closer to spoken word than they are to traditional melodies. It arguably has the most complex and poetic lyrics on the album, and something about the slow, winding verses is so calming. If, like I said earlier, you view this album as sort of tracking a night out, this is where the night starts to come to a close. Something about the song seems like a goodbye, though it’s not sad; nostalgic, maybe, and a little bittersweet, but not sad. Like it’s more of a parting than a split. I’ve seen it suggested that this song is also about Zayn leaving, and I can see that; it’s not so much about the actual pain of him leaving, necessarily, but maybe more so in the time before he left. To me, this mostly seems like a song about knowing you’re going to have to say goodbye, but not quite being there yet.

16. Wolves

In the middle of the night when the wolves come out, heading straight for your heart, like a bullet in the dark...

Again: for whatever reason, it’s always the fun, lighthearted songs that get me. There’s not a ton going on in this song beneath the surface, but it’s one of my favorites on the album. It’s just so bouncy. Liam described it as being about when you’re out with your partner and people try to hit on your partner, even though you’re right there. Look, I don’t know, this song is just so much fun, okay, I don’t make the rules.

17. A.M. 

You and me were raised in the same part of town, got these scars on the same ground. 

This is it –– the close to the night. For such a simple, relaxed song, it does a wonderful job of concluding the album and tying up all its themes. The song is all about familiarity, through hanging out with your friends, but also about goodbyes, in watching the night slip away, and about their own goodbye, through the reminder “you know I’m always coming back to this place.” There are a few lenses that can be applied to this song: on one hand, it’s about being with your friends after a long night, where everything is fuzzy around the edges but warm at its center. It’s also a goodbye to the fans, in the reluctance to leave but knowing it’s for the best. And maybe most importantly, it’s recalling all the times they’ve had together as band-mates, remembering what they’ve been through. While “History” is the perfect ending note to the album proper, “A.M.” is the perfect ending to the extended album, considering the more bittersweet emotions stirred up in “Walking in the Wind”. It reconciles that feeling with the rest of the album by creating such a strong image of sitting around with your friends, drinking and laughing at nothing. It’s about memories, good or bad, and what they invoke. This is what I meant when I called the album nostalgic; for as much as this album is propelling One Direction forward in terms of their career and what they’re capable of musically, something about this album is holding onto the past and not quite letting go.

Made In The A.M. is available now, in stores and on iTunes, Apple Music, and Spotify, among countless other legal venues. Check it out if you haven’t already, and if you have, let me know your favorite songs and/or the times you thought Louis Tomlinson shone the brightest.

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Music Is Food For the Soul: Discussing and Dissecting the Soundtracks of 'Arrow' and 'The Flash'

I had the privilege this past week of getting a chance to download and listen to the third season soundtrack for Arrow and the first season soundtrack for The Flash before they were officially available for download online later today. I've always been compelled by music, honestly. I spent the better part of my youth partaking in choirs and jazz ensembles both inside of school and out. I think that it’s extremely powerful and cool that music has the ability to transform an entire scene –– that a composer can arrange and construct the sound of instruments and voices in such a way that evokes emotional responses.

I love the music in Doctor Who. Where storytelling sometimes fails, the musical composition never does. "Rose’s Theme" is one of the most beautiful pieces of music I've ever heard. And it’s amazing that Murray Gold was able to embody every facet of Rose's personality and her relationship with the Doctor into one piece. Good music makes good storytelling great. Whether it's a gentle, lulling piano melody or a loud brass orchestra, or a single flute solo, music –– when it is great –– adds more depth to a show or to a movie.

And honestly, I have always admired Blake Neely's compositions on Arrow (and now on The Flash). He manages to take the elements of each show (the optimism, the darkness, the struggles, the falling in love, the hope) and translate them into notes on a page and trills and runs. I was so excited to get a chance to listen to both Arrow and The Flash’s soundtracks in advance, and decided to write about why you should purchase your own copies.

Limited edition artwork from the album. Photo credit: La-La Land Records, DC Comics, and Warner Brothers.

ARROW’S MYSTICISM, EDGINESS, AND LOVE

I think my favorite track on Arrow’s album is a tie between “The Climb” and “Sara Silenced” (though I also am so in love with the track “Convince Him,” too, for reasons that may or may not be related to Oliver/Felicity). I could literally do a track-by-track review but I think that would just be too much. Instead, I’m going to pull some of the highlights out from the album.

I am absolutely in awe of “Sara Silenced” because it's a perfect encapsulation of Sara Lance as a character –– both her and then her persona of The Canary. You hear those Middle Eastern elements in the musicality that remind you of her time with the League and time spent in Nanda Parbat. There are so many elements about Sara’s character that make her so strong and dark and tragic. But in “Sara Silenced,” we not only hear those big crescendos, but the quiet and mournful violin harmonies. There’s a gentle piano melody too throughout that is absolutely beautiful. The entire song is so reflective of her as a character and as a woman –– the score is so layered and is so lovely. It’s a fitting musical composition for such a dynamic character.

“The Climb,” of course, features the Olicity theme about mid-way through (which is just so lovely and moving –– it’s quiet and intense, just like the pairing is, filled with hope and just the right amount of angst). But what was also great is that it’s a score that doesn’t just get to explore the sweetness of the episode, but the grand, sweeping dramatic moments, too. And “The Climb,” as an episode of Arrow was all about balancing the intimate with the grand. Blake Neely did a fabulous job in creating music that did similarly.

So now let me briefly talk about why “Convince Him” was so great. First of all, obviously because it’s the score that helped Oliver and Felicity consummate their relationship. But also, it’s this extremely ethereal-feeling track. I listened to it a few times before I realized what it reminded me of –– the haunting female voice was reminiscent of “Doomsday” (Doctor Who). And I absolutely loved it for that reason. This is perhaps one of the most important and memorable scores for the Oliver/Felicity relationship and I think it was truly reflective of them as a pairing. The composition is ethereal, but grounded in something very real and very moving.

(And, of course, I’m always a huge sucker for any riff on Arrow’s opening theme or theme music, so “Team Arrow Takedown” is delightful.)

“Like Father, Like Daughter” has some AMAZING percussion in it, so you should listen to the track for that reason alone. “A Father Mourns” is so beautiful and powerful (I swear, Neely’s lingering piano solos are going to be my undoing). “I’m Cupid, Stupid” –– a bonus track on the Arrow album –– is just like Cupid herself: crazy and fun and a bit dangerous. “Thea Learns His Secret,” which is the second half of the “Oliver Returns” track is absolutely tear-inducing, because the music builds and you think maybe it’s building toward something bad, but it never does (much like the scene where Thea is told of Oliver’s secret by him). I dare you to listen to “Another Fallen Queen” and NOT be emotionally moved. I also love that this particular track is a riff on Oliver’s theme at different points, containing a lot of similar elements but never directly paralleling it, much like Thea herself.

I also really loved that Blake Neely included the music from “The Brave and the Bold” on this album as a separate disc. “Light Inside You” remains my favorite, I think, from that episode and with good reason –– it’s stunning and powerful, full of edginess and The Flash’s theme and hope.

Honestly – as I said – there are far too many amazing tracks on the Arrow season three album, so definitely go listen to them for yourselves and support Blake Neely’s amazing work.

Limited edition artwork from the album. Photo credit: La-La Land Records, DC Comics, and Warner Brothers.

THE FLASH’S HOPE, ENERGY, AND BEAUTY

Now that we’ve talked about Arrow’s soundtrack, it’s time to discuss The Flash’s! Out of the tracks on this particular album, I think that I was most enraptured by a few different ones. First of all, there’s a bonus track called “I Love You, Iris” which is absolutely BEAUTIFUL. Like, I really don’t have words for how beautiful it is. All I know is that it rivals Oliver/Felicity’s theme in “things that will make you cry.”

“Things You Can’t Outrun” has a very Arrow-esque feel to it, even though it’s a track from The Flash –– there’s a precarious balance between violins and brass (at least I think it’s brass) and percussion though that makes it absolutely and completely The Flash. “What Barry Saw” is just plain sad. Like, tug-at-your-tear-ducts-until-you-sob sad. This is definitely one of those hauntingly beautiful ones you’ll be replaying from the album.

I’m a huge fan of “The Fastest Man Alive/Always Late” because I love that the franticness of the score perfectly parallels Barry Allen as a character. He’s always running, usually always charismatic, and his theme reflects that. I often refer to Barry Allen as a puppy dog because of his eagerness, friendliness, and general charm. I love that the score perfectly reflects that with little trills and melodies that aren’t as bold as Oliver’s, but are just as engaging all the same. Barry is a different hero than Oliver and his score –– as well as the music of The Flash in general –– highlights his power and his heroism in a different way.

“Proud of You” is another track that gets recognition from me because it’s probably one of the most hopeful tracks you will find on the album. (It automatically makes you want to hug Barry because there’s a swell to the track that leads right into Barry/The Flash’s theme.)

(But I’m truly a sucker for anything related to Arrow and The Flash crossing over, so the track “Team Arrow in Central City” is SO GREAT. It’s fun and dramatic and begins really quietly and with a lot of the gentle violin lulls and beats that make it suited for The CW’s traditionally happier superhero show. But then, it becomes so intimately Arrow –– darker, more dramatic –– that I get really excited. Also, “The Flash vs. Arrow” is really fun too because it’s basically a dueling score, and Blake Neely essentially gets to duel Arrow’s musical riffs and The Flash’s musical riffs in one composition. How fun, right? This track is literally the two different scores and styles fighting against each other and complimenting each other somehow, at the same time. And it’s so awesome.)

WHY SCORE MATTERS, AND WHY BLAKE NEELY IS A PERFECT FIT ON ARROW AND THE FLASH

In listening to both of these albums, I was in awe of Blake Neely’s mastery of storytelling through score. I think that too many people overlook score in a television series because it’s easy to do so. The score, for most people, is just that thing in the background of your favorite scene or the sweeping orchestra over a battlefield. But I love composers on television series. Ludwig Göransson is one of my absolute favorite television composers apart from Blake Neely these days. Ludwig penned “Greendale Is Where I Belong,” a melody so iconic on Community that it was used frequently throughout episodes as a sort of refrain –– a coda that told the audience and characters everything would be all right.

Blake Neely has managed to take all of the elements that make Arrow and The Flash so engaging and translate them into scores. So when you watch a scene between Stephen Amell and Emily Bett Rickards, the acting is important –– of course. What they’re saying matters. But when they look at one another and you hear that lilting piano melody in the background, suddenly the scene becomes more layered and dimensional than it was before. A mountaintop duel has more weight because you hear the intensity in the swords clanking, sure, but you also hear it in the orchestra swelling and the crescendos building. And a scene where a character dies is moving, but when you add the soft lullaby of a violin… well, we become sobbing messes.

Neely is the perfect composer for Arrow and The Flash because he understands the thing that drives each show and he harnesses that one thing into his music. You all definitely need to purchase your copies of the Arrow, season three and The Flash, season one soundtracks!

La-La Land Records presents THE FLASH Season 1 - Original Television Soundtrack and ARROW – Season 3 Original Television Soundtrack limited edition (3,000 units) 2-CD sets exclusively HERE today, and other major music retail outlets on October 27, 2015.

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The Great One Direction Hiatus [Contributor: Megan Mann]

As I was walking into Soldier Field last week, ready to live while I’m young, my friend and fellow Directioner sent me a link. I clicked it and immediately refused to believe it.

One Direction to Disband in March

Well, color me depressed/angry/disbelieving/sort of relieved. I know, I know. You’re about to ask me how it's possible to be feeling all of those emotions at once. I understand where you’re coming from and I’m here to explain myself.

Three years ago, I spent two nights back-back in Tinley Park, Illinois belting out the lyrics to the songs from Take Me Home. Last year, I flew all the way to England in order to throw myself into the throngs of girls at Manchester City’s stadium and Wembley Arena, gaining new life from the high notes in "You & I." This summer I spent my best friend’s birthday in Indianapolis having Spice Girls flashbacks with a now-foursome of Brits. Last week, I even locked eyes with the beautiful Liam Payne.

It’s been a wonderful three years. I've been having the most fun with some of my favorite people. So to hear that One Direction will take a break after releasing their upcoming fifth album makes me sad, especially after the release of the "Drag Me Down" a few weeks ago. That song proved to be a departure and a progression from what the band had previously done. You could tell that the single was less about pleasing the pop radio masses and more about going in the direction the band had wanted to all along.

I’m sad because the fun aspects of this summer won’t repeat again next summer. I’m sad because I won’t get to dance around at concerts alongside people of all ages while screaming the lyrics to some of the best pop music. I’m sad because we’re going to get this phenomenal album (I won’t say it’ll be their best one yet because the papers always say that kind of stuff for us) and then the band won't be touring it. So the question is... what am I supposed to do with that?

Until it was confirmed via Twitter by both Louis and Niall, I was in disbelief that this was even happening. Why would the band have just finished a fantastic new album and then decided to not even tour it? Surely Simon Cowell wouldn’t allow his cash cow (neither Little Mix nor Fifth Harmony have the colossal success or global draw that they do) to release an album, do mere promotion and then not tour it, right? ... RIGHT? He likes money. I mean, he likes taking our money, so that doesn't seem like a logical move.

Shortly thereafter, I transitioned back to grief. Because, as the fake version of Joey Fatone of my beloved *NSYNC pointed out (yes, I know the article is not  real but it's absolutely worth reading for the kernels of truth in it and, you know, humor), that was *NSYNC’s plan as well. They were going to take a hiatus in order to pursue solo efforts and now here we all are without another album of theirs, with no tour and has anyone heard from Chris Kirkpatrick since Justin, one of the most successful pop icons of the last decade, was given the vanguard award at the VMAs a few years ago? [Jenn's Note: One of my local radio DJs just got married recently and is friends with him. He was totally at their wedding. True story!] What would I do if I received this precious fifth album and then never got the chance to hear more than "Drag Me Down" played from it live?

After I let the disbelief and the anger and the sadness subside, I was almost relieved. (I really think I'm going through the stages of grief with this news.) And I feel that way for them because... come on. What they’ve managed to do is unprecedented. They went from just five guys auditioning alone to becoming a group and hitting huge success. And this was all before they were even done on X-Factor. They’ll have: put out five chart-topping albums in five years, circumnavigated the globe on almost a constant basis doing both promotion and touring for aforementioned albums, done both a documentary and live concert that debuted theaters and, finally, had a meteoric rise to superstardom. Seriously. In five years. I mean, that has to be absolutely exhausting. It’s exhausting for me to just think about and I’m not even doing half of what they are.

Not only have they each as individuals and as a band had to deal with all of the stress and effort of what I mentioned, but then there are the fans. These guys can’t go anywhere without being literally chased down the streets or even sometimes (and more dangerously) on the highway by the people who love them. They’re constantly being photographed. Their personal lives are infiltrated constantly and yet, somehow, despite ALL of that, they’re still supposed to take on the responsibility of being some of the fans' saviors. That’s a whole lot of pressure on five dudes who probably didn’t think in a million years that their auditions would lead them to this. So yeah, I'm a little relieved to hear of this news. I'm relieved that the boys won't have to be constantly shoved in the spotlight. And who knows, maybe they'll even be allowed to walk down the street without wondering if they have to duck into a random store or a girl is going to hurt herself while hurdling fire hydrants to demand a photo. (I mean, seriously, ladies. They’re real people too. you know.)

I’m also totally relieved for myself. Did you catch that earlier? I’ve seen One Direction every summer for the last three years, traveled across an ocean to see them at England’s largest stadium (and also in the den of that gross team Manchester City). I've thrown so much money at the band (not literally), have forfeited sleep before flights and work to see them and have totally made my friends fans. But... I’m tired, too, guys. I love them dearly, of course, but now maybe I can catch a little bit of a break, you know? I’m sure once the album officially debuts (I don’t mess around with leaks, okay) that I’ll be changing my tune and itching for a tour. But maybe a little distance before that happens is good. Sure, I’ll miss Harry trolling the audience and I'll miss Niall’s terrible dancing and I'll  miss Liam reading inappropriate signs. I'll definitely miss that and I'll miss them. But as an adult, I also just understand.

So long as those three dashing Brits and one four-leaf clover come back to us eventually, I will accept this hiatus. To One Direction: enjoy your time off and I look forward to the day when we meet again. I walked out of Miller Park in Milwaukee last week with a smile on my face and I’ll be ready and willing to snatch a seat the next time around, too.

Oh, and one more thing, One Direction: just make sure you bring back "Live While We’re Young," during the next tour, okay? This is the only change that I’m not sure I can accept and forgive you for.

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A Universe Wrapped In Skin (A Review of "Venus")

I think that one of the most difficult things in this life is being vulnerable with people. Vulnerability is terrifying – you are exposed, emotionally naked, and others are free to either accept you or reject you. The potential for rejection is terrifying and the potential for rejecting after baring your soul to another human being – those raw, tender parts of you – is even more so. But that’s why vulnerability is also one of the bravest things any of us can do in this life. It takes immense courage to look other people in the eye, strip down and say: “This… this is who I am.” That’s exactly what Joy Williams does in her latest album, Venus. And I think that’s incredibly courageous of her. I’m not a musician, but I am an artist and I realize how nervous I get whenever I write something incredibly personal and share it with others. Will they judge me? Will they accept me to my face and scorn me behind my back? Will this alter how they see me from now on? Will they still love me?

Joy chooses to share the most vulnerable, still-healing parts of her in this album and that’s not just incredibly brave – it also makes the entire album powerful and poignant without being heavy-handed. Too often, so many artists try too hard to sound genuine in their music. But not Joy. She’s real. She’s unguarded. And she’s completely and totally honest in Venus, which is what makes it such a stellar album. So let’s talk about it, track-by-track as I pinpoint some musical and lyrical themes throughout the piece and discuss more about how vulnerability actually makes us stronger.

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Where My Banjos At? (A Review of "Wilder Mind")

I recall the exact moment that I started listening to Mumford and Sons. I was at a friend's house who is -- by all definitions -- a complete and total hipster. It was our mutual friend's birthday, and he and his wife had brought cupcakes that she made (adorably shaped like billiard balls). While we were eating, my friend scoured through his music collection and pulled out a record, an actual vinyl record (I told you he was a hipster) to put on his record player. It was Mumford and Sons' "Little Lion Man." As I listened to the lyrics and listened to the music, I became enraptured by everything. I love music and I listen to a lot of it -- boy bands, rock bands, alternative singers, Broadway musicals, top 40 hits, country, etc. -- and I hadn't ever really heard of anything quite like Mumford. They were folksy, but poignant. They were spiritual, but not Christian. They were deep and soulful without really trying too hard to be.

The reason that I fell in love with this band and the reason why I am so enamored by Babel is because Mumford and Sons filled a void in my musical repertoire that I didn't even know was missing. Their songs made me think. Their music made me dance and sway. Their lyrics were poetic. And that's what music is, really, at its core: music is poetry and prose. I'm not a songwriter but I can understand that, as a storyteller. Country music is prose -- country music tells stories constantly. Stories about families. Stories about silly things like tractors and parties and summertime. Stories about love and stories about being cheated on. Stories about drinking and laughing. Good country music is a narrative.

But folk music is poetry. Folk music contains images and allusions. It fills your soul, not just your heart, with words and memories and feelings. And yes, sometimes it tells the story of a man and a woman. Sometimes it tells the story of a lonely, wandering soul. But more often than not, folk music is the music that you use to evoke images and emotions, not to string together a cohesive narrative. A lot of music is prose but a lot of it -- the really, really good kind -- is poetry. Sigh No More and Babel are Mumford and Sons at their core: albums full of spiritual imagery, snapshots of redemption and grace, of love and loss. And now, with Mumford's recently released new album Wilder Mind, I thought I would take the time to discuss the band's musicality and lyricism on their newest -- and very different -- album.

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"1989" Album Review (It's T-Swift-a-Palooza, Part Two)

When I reviewed Taylor Swift's Red, I explained that I was once called "Taylor Swift" by a guy that I liked and realized that he meant it as an insult, rather than a compliment. And over the years, I've thought a lot about Swift as an artist and a person. I even spent an entire blog post defending her. And what I've realized to be true about her and myself in the process is this: Taylor Swift is brave and vulnerable and a writer, which means that I feel such an emotional connection to her because I, too, am a writer. Writers feel things deeply. No, let me rephrase that: writers feel everything deeply. It's the way that we are wired. While other people look at a dark sky and see an approaching storm, we hear the sizzle of the lightning and smell the impending rain and feel this indescribable feeling of dread and exhilaration as the clouds move faster and faster overhead.

At one point in a 1989 bonus track, Swift expresses this notion, saying that she watched love unfold -- the kind of feelings she's spent "her whole life trying to put into words." It's a beautifully unguarded moment where I felt an intense connection to her because I've spent my entire life trying to do the same. I think that Swift knows there will always be things in life she cannot put into words, physically, but that won't ever stop her from trying to do so. In 1989, we see that clearly because every track on this album is a story and every track is wholly unguarded and raw in the most beautiful and honest way possible. When people tell stories about love, they often only tell the good parts. They talk about roses and first kisses and the sparks in peoples' eyes. There is nothing inherently wrong with that, but it's really only half of the story. The other half of love is the complicated, messy, vulnerable part. It's the fight that escalated over one word. It's the nights you question whether or not you made the right choice. It's the moment right before you call it quits or the days spent being jealous of someone else.

Swift is unafraid in 1989 to take risks, but the risks that she takes aren't those of releasing a solely pop album. If we're all being honest with ourselves, Red was a pop album that had a song ("Stay Stay Stay") that sounded country. No, Swift is getting older and her lyrics and tone are only changing because she is. When you're younger, you write in your diary; when you become 25 years old, you begin to write your memoir. And the reason I think that this album is her most compelling yet is because we -- as the audience -- are becoming more trusted by Swift. How do I know this? I know this because 1989 features the most raw, open, and vulnerable parts of her life. And you only share those parts with people you love and trust.

This album isn't perfect, but the point of it isn't to BE perfect. The point of it is to be real and relatable and inviting and compelling and yet still magical and hopeful and wonderful. The point of 1989 is to sound and feel like Taylor Swift at every single turn. And in that, it definitely succeeds. Below, I've discussed each track in-depth. See what my thoughts are and then comment on this post with some of your own, if you'd like.

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"Red" Album Review (It's T-Swift-a-Palooza!)

I was called “Taylor Swift” by a guy once. It wasn’t, as I soon discovered, meant to necessarily be a compliment. He was implying that I was naïve and young – and he viewed Taylor Swift the same way.

To be honest, a lot of people still think of Taylor Swift as that fifteen year old girl singing about Tim McGraw and high school romances. And it’s interesting that people do this – that they view her, still, as a child – because they don’t frequently act the same way with normal twenty-two year olds. I’m rapidly approaching my twenty fourth year of life, and I can honestly say that no one has approached me on the street, looked at me and patted me on the head, calling me “sweetie.” No one talks to me condescendingly, like I’m a teenage girl, when I announce plans or dreams or visions. And, on the rare times I talk about love or relationships, I haven’t come across anyone yet who shakes their head or rolls their eyes and says: “Would you stop being so immature?”

So I return, once more, to the question: why do people tend to treat Taylor Swift like a child when she has been a legal adult for years? Perhaps it’s because Miss Swift is in the spotlight, or because she is famous for writing break-up songs or because she has a child-like sweet disposition. And Swift’s previous albums have reflected her own personal journey as an artist – from her first self-titled album, to the eclectic “Speak Now” record, it’s clear that Swift has grown both as a person and as an artist. But it’s “Red,” her latest record, which intrigues me the most.

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